The touring cast and crew of Beetlejuice have certainly earned their stripes.

Based on the 1988 film of the same name from Tim Burton and directed by Alex Timbers, Beetlejuice tells the story of a ghost (Beetlejuice, played by Justin Collette) straight from the depths of the Netherworld and his desperation to join the world of the living and be seen by humans. Knowing he must get a human to say his name three times, he hatches a plan in this hilarious show about death (there’s a phrase I never thought I’d say).

While the musical has since generated a cult-like following of it’s own, there are a few key differences from its original source material. In this version, Lydia (Isabella Esler) loses her mother, sending her into a deep depression. In an effort to move forward, her father Charles (Jesse Sharp) moves them and Lydia’s new life coach Delia (Kate Marilley) into a new house, much to Lydia’s dismay. It is here that Lydia meets Beetlejuice and the ghosts of Barbara (Juliane Godfrey in this performance) and Adam Maitland (Will Burton), the house’s previous owners who have since taken refugee in the attic after being killed by Beetlejuice.

On paper, Beetlejuice sounds downright unwatchable. But with a brilliant, blink-and-you’ll-miss-it book from Scott Brown and Anthony King and Colette’s impeccable comedic timing, Beetlejuice strikes the perfect balance of shock and entertainment.

From the moment Collette steps on the stage, he steals the show. From his electric green hair to his iconic striped suit, his “whole being dead thing” is the perfect intersection of shockingly crass and wildly entertaining. Jokes about cocaine, sex, and the middle finger all have somehow found a welcome home on the Beetlejuice stage. While still keeping with that scratchy Beetlejuice voice, Collette finds way to showcase his range and talent as a performer. With Beetlejuice serving as the production’s narrator, he is an unstoppable force of energy, powered by dirty jokes, quick wit, and snappy comebacks.

When paired with Esler’s rocker chic voice, the chemistry between this dynamic duo is unstoppable (and quite hilarious, as demonstrated in their number “Say My Name.”) Together, they are so entertaining you almost forget they’re singing about murder, possession, and sex.

In comparison to Beetlejuice’s reign of chaos, Lydia is a quiet, alarmingly pessimistic teenager. Dramatically mourning the loss of her mother, she finds solace in Beetlejuice’s gleeful discussions of death and ghostly possession. But it is during her two big musical numbers “Dead Mom” and “Home” that Esler gets a chance to break loose and showcase her enviable vocal prowess. She turns the theater into a rock concert with edgy, belt-in-the-shower-worthy ballads from music and lyric writer Eddie Perfect.

While Lydia sulks around like an oversized bat, Barbara and Adam Maitland are reminiscent of baby deer learning to walk. As they get their ghost legs, this awkward, adorable couple are endearingly naive. Godfrey and Burton have a geeky sort of chemistry you can’t help but love, but it is not until their Act II number “Barbara 2.0” that they get to show off edgy rock vocals of their own.

In comparison to the Maitlands’ newfound chutzpah, Delia is an adorable mess. Marilley’s physicality and stage presence are unmatched as Delia exudes her own kind of boss babe energy in her duet “No Reason” with Esler. While Delia lives in her own blissful bubble of positivity, Marielly’s powerful voice helps ground this lovable character and bring a sort of real and honest authenticity to Delia’s own insecurities.

Visually, the production is flawless, although the theater did experience some unfortunate lighting and sound difficulties at the beginning. Collette handled the technical issues with ease and used them as an opportunity to improvise and ad lib for the audience. Fortunately, the rest of the production went off without a hitch, and the technical and creative teams proved their Tony-award nominated chops. Full of special effects, magic tricks, clever projections, and giant glowing sandworms, Beetlejuice thrives on chaotic, dizzying energy without crossing too far into the realm of overwhelming sensory overload. The Act I finale “Day-O (The Banana Boat Song)” and Act II number “That Beautiful Sound” proved themselves to be especially good at this, with just the right amount of humor and laugh-out-loud antics. One almost doesn’t know where to look for fear of missing impeccable comedic feats from the ensemble.

From start to finish, Beetlejuice is absurd, and viewers must be prepared not to take it too seriously and enjoy it for what it is, rather than what it is not. It toes the line without actually crossing it, yet still manages to use vulgar humor and flashy special effects to highlight what really are important subjects, including grief, mental health, and familial relationships. Written in the wake of the “Me Too” era, I’m glad to see Lydia’s number “Creepy Old Guy” made the final production.

Viewers should be advised that Beetlejuice contains strong language and mature references, and is not recommended for children under 13 years of age. Parental discretion is advised. 

This production utilizes strobe lights, pyrotechnic effects, fire, theatrical smoke, and haze.

All photo credit to Matthew Murphy. Addition production photos can be found below.

Tickets can be purchased here.